Saturday 11th April 2026
Blog Page 1011

Unearthing the past: in search of stasis, simplicity and Mrs Simpson

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A side from my usual vac routine of PlayStation, reading any book other than my course texts, watching Peep Show, and procrastinating, I spent some of this vac sleuthing. Specifically, I have been searching for a teacher. My old school didn’t know where she went. Neither did the infinite wisdom of Google. And while I still believe that somewhere in the vastness of the internet some golden information as to her whereabouts exists, Mrs. Jo Simpson—my former English teacher—remains ever-elusive.

I sense your scepticism, of course. Over many years we meet numerous teachers, all of whom have a different impact on our life’s direction. I lack the delusions of grandeur to speak for every Oxford student, and I know that not everyone here has always had such a positive relationship with their chosen subject. But for me, choosing English (and French to study francophone literature) was never motivated by pragmatism, or by my realistically non-existent career prospects. Rather, it was motivated by a love of the subject, emboldened by an unsuspecting, yet truly skilled, teacher.

In listening to me ramble about how much I loved Of Mice and Men, lending me a variety of books to widen my literary horizons, or even just giving me more support than any student could expect during the stress of coursework and exams, she proved invaluable.

I would venture to say that this is not atypical. For everyone who loves their subject at university, and especially for those like me, for whom applying to Oxford was a bit of a leap into the dark, the latter years of school often have, as they did for me, a catalysing and formative impact. Our interests within our subjects are often shaped by our experiences at school, and I know of many people who struggled to adjust to the shift in pace from school to Oxford, overwhelming and bewildering as it often can be.

I would go as far to say that perhaps, for even those who detested school, as I did, its finer points are apparent when settled in a calmer, post-Prelims perspective. While I don’t miss it and I would never wish to go back, I do sometimes feel a pang for the feeling of a comforting stasis—that feeling of always knowing where you are and what you’re doing—and with those now all-too-rare high grades to match.

I feel that many of us fail to realise the impact of that stasis in school. Much is made of the disconcerting slide from being top of the class to having to battle with all-nighters to average a 60, but there’s something to be said about the finality of school. Approaching the end of seven years of dreary Catholic comprehensive education, I knew that my application to university, and to Oxford specifically, was an end goal. It was what all my years of secondary education had built towards, knowing that university was where I wanted to take my future.

After getting into Oxford, suddenly the path I had so clearly laid out for myself faded away and I was left directionless. I now attribute much of my questionable eff ort and variable attitude towards work in first year to that feeling of disorientation. In school, everything leads towards a certain point. At Oxford, certainly after the concrete goal of Prelims, direction becomes much more nebulous. Often, much more terrifyingly, it is oriented around the most elusive of Oxford concerns: the ‘real world’.

So I do wonder if there is more than just a desire to get back in touch with the finest teacher I’ve ever had. I wonder if, deep down, there is a yearning for a more innocent and insular time long-gone, where value is defined by effort stickers and where academic validation is far more prevalent.

Mrs. Simpson gave me the confidence to embrace my passion for literature and take it to the highest possible level by applying to Oxford. Where she has gone after her move away from my Chesterfield school to one in Nottingham, I may never find out.

I can only hope that somehow our paths will cross once more. Until then, I’ll keep reading literature, and my immeasurable gratitude towards Jo Simpson will go unvoiced, but held with a firm affection.

The connoisseur’s guide to 2017 in music

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Music journalism has to appeal to all bases. And so, in an attempt to alleviate the suffocating focus on indie music, your humble writer has decided to go mainstream. Here’s an analysis of a ‘Coming Up in 2017’ chart put forward, not by Pitchfork, or Alexis Petridis but by renowned tastemaker Capital FM, the only radio station in the world named after the works of universal arbiter of cool, Karl Marx.

“Are you ALWAYS panicking as to when your fave artist is going to release their album? Well… FEAR NOT! ‘Cos we’ve got ALL of the info you’ll ever need!” screams the article’s description. Looking down the list, my first reaction is one of disgust but, after stoically taking stock (quite literally—I had a Bovril to calm me down), I soon realise Capital FM are completely right. You see, I thought my favourite artist was LCD Soundsystem, but after looking down the list, from which they are absent, I realised Capital’s favourite, Dappy, was a superior choice by far.

Ah yes, former N-Dubz member Dappy, who back in 2012 received a suspended sentence for spitting in the face of two girls at a petrol station in Guildford of all places. If 2016 goes down as the year of the death of Bowie, then 2017 surely will be the year of the rebirth of Dappy.

Clearly litigation is a theme of Capital’s list as further on down we find Chris Brown: yes, he’s back. There’s also 50 Cent, who last summer filed for bankruptcy—turns out his name was just tempting fate after all.

Then there’s Avicii, whose 2016 retirement apparently “hit [Capital FM] hella hard”. Me too, Capital FM, me too. But guess what: he’s back, and he’s out to make, in his own words, “the best damn album of [his] career”. Oxford holds its collective breath in anticipation of more bangers to tear up the floor of Emporium in the vein of ‘Hey Brother’. I haven’t been this excited since the release of the last Avicii album.

Based on Capital FM’s list, the question of whether 2017 will be better than 2016 can be answered with a resounding “no”.

How to pass collections via the medium of film

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Collections are a scary thought for all, especially after a few weeks of comfort eating and television watching. So why not combine the two? Cherwell has you covered on exactly how to revise via the medium of Hollywood this Hilary.

For any Arch & Anth students out there, try Raiders of the Lost Ark. Harrison Ford’s first appearance as everyone’s favourite archaeologist, Indiana Jones should definitely count as revision; it even discusses deep questions, such as the necessity of museums and why the preservation of history is important.

If you study Biology or Biochemistry, there’s always 28 Days Later. The plot is based on a virus attacking and turning everyone into the living dead. Use the opportunity to your advantage to discuss the logistics of a virus on this scale and how it could be prevented. Then try and work out how to survive a zombie apocalypse.

For Chemistry, try Trainspotting. You’ll join Renton and the gang on their heroine-fuelled adventures in Edinburgh, and can have deep scientific discussions about the drugs and chemically induced dreams.

If you’re a classicist, then Troy is a definite winner. Lots of beautiful people having sex and fighting with the Trojan War in the background. To turn it into revision, just drink every time the film deviates from Homer’s Iliad.

For Earth Sciences, try 127 Hours. The premise is that James Franco falls into a ravine and traps his arm under fallen debris, which is definitely revision—Earth Science is rocks, right?

E&M students can’t go wrong with The Big Short. Nominated for an Oscar, this based-on-a-true-life story makes the 2008 banking crisis not only understandable, but enjoyable too. It also includes Margot Robbie explaining banking lingo whilst drinking champagne in a bath, which is probably the best way to revise.

Engineers should try Mad Max: Fury Road, a 2015 action film set in a post-apocalyptic Australian wilderness. The fuel-guzzling machines featured in this movie are truly a sight to behold, and in order to revise please use everything you have learnt during Michaelmas to make me a Mad Max-style car.

If you study English, an absolute winner is The Importance of Being Earnest. Colin Firth stars in this almost word perfect adaptation of Oscar Wilde’s play; hilariously funny, and played with just the right amount of confidence, it is one of the best adaptions you will see. To revise just allow the words to fill your mind rather than laboriously learning quotations.

Any budding lawyers: Hot Fuzz is for you—a cop comedy from the makers of Shaun of the Dead. Stationed in a small countryside village, two police officers have work on their hands as some unexpected violence starts to go down. In order to revise, simply list every crime committed in the film, no matter how small.

For Medicine the perfect choice is Vital Signs. If one film had to sum up the tackiness of 90’s cinema, then Vital Signs is it. It is based on a few friends in medical school, who must put their personal lives aside before they decide what to specialise in. To turn this into revision, discuss which is worse, the poor acting or the simplification of medical procedures.

Any linguists should go for Une Femme est une Femme. Look out for the Cherwell’s film list about the best foreign films to stream this year. Unfortunately, not every language could be included here, so the wonderful French film Une Femme est une Femme about the 1960’s idea of a modern women, takes the centre stage. To revise just submerge yourself in the beauty of French and shout along “Non! Je suis une femme!”

For PPE there is always The Iron Lady. Thatcherites Assemble: Meryl Streep plays the former English Prime Minister in the 2011 biopic. To revise, please explain, in your own words, the conservative government of the 1980’s.

And finally, for theologists, my recommendation is The Life of Brian. Monty Python offer you Brian, a normal guy who keeps being mistaking for the messiah, and while it might not be strictly theological, you never need an excuse to watch Monty Python. Ever. Even if there are exams.

On the look-out: Hilary 2017 in art

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Oxford may seem small, but the city is full enough of well-stocked and intriguing museums to keep any student’s eyes busy this Hilary. January will see the last weeks of the hugely successful exhibition of Islamic art, Power and Protection, at the Ashmolean, leaving its place for a year of events focused on the idea of innovation being brought to thought by artistic production.

January at Modern Art Oxford: Lubaina Himid, Invisible Strategies

After a year dedicated to celebrating the museum’s anniversary through the Kaleidoscope programme, which featured works by Kerry James Marshall, Marcel Broodthaers and Yoko Ono as well as a retrospective of the exhibitions set up in Rose Hill, Oxford’s modern art museum opens 2017 in a playful yet critical mood. From 21 January, Invisible Strategies will show some of the more rarely exposed paintings of the UK’s Black Arts Movement pioneer, artist Lubaina Himid. Himid’s work, covering a wide range of styles and techniques from painting to sculpture, offers a better informed and sometimes cynical view of the landmarks of black history and identities, examining stereotypes and prejudices in her graphically striking creations.

Lubaina Himid, Invisible Strategies will be open from 21 January to 30 April. Free entry.
What else to look out for in January: Desmond Shawe-Taylor’s talk in Merton for the Edgar Wind Society.
February at the Ashmolean: Degas to Picasso

Continuing on its wave of master exhibitions after the remaining four of Rembrandt’s five early Senses paintings were shown together for the first time in its rooms, the Ashmolean shifts to the modern period for three months of French avant-gardist exploration. David, Pissarro, Cezanne and Manet are just a couple of the famous names which will be hanging on the museum’s walls to complete this survey covering over a century of painting in France by artists from all over the world. This ambitious programme intends to reveal step by step the separation of the country’s well-established schools into a myriad of experimental trends and innovative series each developing a new concept of space, colour and texture. Supporting this aim, a chronological path is traced, taking the visitor from the fixed starting point of Delacroix’ Romanticism to abstraction à la Braque, via Duchamp, Dada and Parisian Impressionism.

Degas to Picasso: creating Modernism in France will be open from 10 February to 7 May. Free entry with a Bod card.
What else to look out for in February: the Oxford International Art Fair in the townhall.
March and April in London

No longer tied up in a small room under the dreaming spires by tutorial and essay deadlines, the spring vacation is the perfect time for any student to squeeze in a trip to the capital’s museums on the way home. Make it first into the British Museum for the opening of the American Dream exhibition, presenting the museum’s collection of transatlantic works from the pop 60s to today. Alongside the inevitable portraits by Andy Warhol, prints by Edward Ruscha and Robert Rauschenberg’s Sky Garden will all be on show to form a selection which promises to be eclectic, colourful and, in the British Museum’s fashion, simply quite large. Almost simultaneously in London, the Royal Academy’s America after the Fall will take a closer look at American art within the specific cultural and social context of the 30s. Marked just as much by the contemporary economic situation as the 60s were, this is a decade which saw the likes of Jackson Pollock, Georgia O’Keeffe and Edward Hopper rise to create their most emblematic depictions of a disillusioned society.

The American Dream: pop to the present will be open from 9 March to 18 June. Student ticket: £13. America after the Fall: painting in the 1930s will be open from 25 February to 4 June. Student ticket: £8.
What else to look out for during the vac: David Hockney at Tate Britain, Australia’s Impressionists at the National Gallery, Jo Brocklehurst’s drawings of the punk scene at the House of Illustration.

Life divided: collections

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For:

There’s nothing more refreshing than returning to Oxford and being reminded how mediocre you are. That’s why I like collections.

I go home to relax after my ‘hectic’ term, leisurely read a stanza-or-two of Dante and think, fucking hell, perhaps I am a prophet of genius? Maybe all this hanging around intelligent people, reading clever books, and writing ‘thought-provoking’ essays has finally had an impact? Managing to answer two questions on this week’s episode of University Challenge confirms this self-diagnosis. My parents smile expectantly at each other—she’s definitely going to be in the team next year.

Having admired from afar the dreamy spines of my vacation reading, it’s Hilary. Gliding into my room I throw my brogues onto the floor, flick my hair back, look into the mirror and think, goddamn, when did I start to look as good as my brain feels? I radiate this flawed positivism until I’m quite light-headed.

Then I sit a collection.

My hand, first perplexed by the concept of writing, shakes as my brain adjusts its focus. Man sees pen, not cursor. Failing to recall which period Botticelli actually belonged to, I plump for the ‘High’ Renaissance, knowing full well that I will later force myself to vigorously defend any lack of knowledge to my tutor through relentless optimism.

Then, after frantically trying to locate some evidence, and finding nothing to support anything except chronic vacation laziness, my time is up. It’s a shame—just when I was beginning to convince myself that I could write using coherent sentences.

I conclude by punching a treasury tag through the pages of pure shit I’ve managed to produce in three hours. A task that seems herculean, and pointless.

But I like collections, I really do—they remind me that I’m stupid. “Welcome back to Oxford,” they say. “Actually do some work this term, please.”

Against:

I hate collections. They’re reminiscent of those pointless ‘end of unit exams’ we were forced to take at school.

Those superfluous assessments that only a handful of students actually decided to revise for during the holidays, instead of investing their time in valuable pursuits such as seeing how many Lindt Father Christmases you can consume before horrendously vomiting.

Having spent a holiday wading through Baileys instead of reading lists, I come back to Oxford. I spend the first few days of term seemingly perfectly ‘busy’, yet not really doing anything. My friends and I gather cordially in the JCR.

It is the night before collections; cold air clings to the grassy lawn and darkness pervades through windows. Glum faces, a lack of plum puddings, and promises to meet in the bar tomorrow evening, whatever happens. We may as well be gathering around a wireless waiting for war to break out.

I decide to break the silence: “Oh gosh, collections tomorrow! Who’s actually done anything?” Everyone quickly exchanges glances. Murmurs of “not much”, “I’m screwed” and the like shuffle about the room. We all lean back slightly, smile, and relax a little. What was the worrying for? Why were we all panicking? It’s all going to be okay. Tomorrow we’re all going to sit an inconsequential exam, and, hopefully, ‘Oxford fail’ together—aka get a dodgy 2:i.

I go to bed, all is calm.

But, not before long I realise that I have been fooled. I have been deceived by the plastercast smiles of my very own compatriots. How did I ever begin to forget that they have either perfected the art of covering up how much work they’ve done, since their year nine physics assessment days, or are just those plain annoying bastards who don’t even have to try?

Sighing, I drag myself out of bed, look at my watch, and make myself a coffee—I have 9 hours to fix this, then I’m done.

Protesters gather outside court to battle Iffley Open House eviction

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Around 50 demonstrators gathered outside Oxford Crown Court this morning to protest an eviction order against a group of squatters currently using a building owned by Wadham College.

Students, along with local residents and members of the group Iffley Open House, showed their support for an appeal from the group to use the currently empty building as a temporary homeless shelter.

It follows a possession order filed by the current leaseholders of the ground floor of the building – The Midcounties Cooperative – to have the squatters evicted.

The case was adjourned for seven days, after a request to the judge by the Midcounties Cooperative. A spokesperson for the group told Cherwell that they were attempting to find “an amicable solution” to the situation.

It is understood that a meeting was later held between senior officials at Wadham and representatives of the Midcounties Coop, as the various parties seek “a consensus” on the issue.

Yesterday, Wadham said that it had met with members of Iffley Open House as it seeks to “establish a constructive dialogue with all of the interested parties”.

Demonstrators at the protest held a banner reading “People need homes, empty spaces need people” and cheered when the suspension of the case was announced.

A member of Iffley Open House, Miranda Shaw, said: “This project has already made a huge difference to the people who have been living in the building. With this adjournment, it can now continue to provide a safe and secure space that is vital for people’s physical and mental health.

“With extreme cold weather and snow expected this weekend, it is one more week of warmth, one more week of rest, one more week in which fewer people will be risking exposure and injury in sub-zero temperatures. And, hopefully, one more week in which the Midcounties Cooperative can begin to see the good this space is doing.”

15996197_10207943010479127_1392424299_n-1The group hope that if the eviction order is successful, Wadham will allow them to move into the upstairs of the property, which apparently contains 11 flats.

Both Wadham and the Midcounties Coop have warned of a “significant quantity of asbestos” contained throughout the building, along with potential fire hazards.

Samuel Dunnett, who is a member of the Wadham SU committee and attended the protest, said: “I think I speak for the majority of Wadham students when I express deep concern for the fate of Iffley Open House. We’re hoping, and will be campaigning this week, for the college to do all they can to encourage the Co-Op to keep the space open and inhabited in these winter months, and to explore all options to them for the parts of the building they own. If the question is one of safety, opening up other parts of the building is safe in comparison with throwing people back into the cold.”

Jeevan Ravindran, Chair of the OUSU ‘On Your Doorstep’ homelessness campaign told Cherwell: “I think protesters are turning up because they’re tired of seeing indifference towards homelessness. Having a home should be a basic human right, especially in this country, and all we’re seeing is budget cuts and hostel closures. More people are sleeping rough and the situation is unacceptable.

“As the university has the means to help, it should, and we urge Wadham to do the right thing and choose to save and change lives. People should not be dying on our streets whilst buildings lie empty.”

In a motion to Wadham’s Student Union, the President, Lucas Bertholdi-Saad, proposed that the SU pay the legal fees for Iffley Open House, and pressure the college to allow the squatters to remain in the building until it requires the site for building work. The motion will be discussed at this Sunday’s SU meeting.

Going to the pub is good for you, say Oxford researchers

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New research from Oxford University’s Department of Experimental Psychology shows possible links between moderate alcohol consumption with friends at a local pub, and improved wellbeing.

The study focussed on connections between drinking and social cohesion, looking specifically at the frequency of alcohol consumption and the location.

It emerged that having a “local” pub promoted trust, social engagement, and thus contentment. Those without a “local”, and comparatively smaller social networks, were less engaged and trusting of their local communities.

Professor Robin Dunbar, of the University’s Experimental Psychology department, said: “This study showed that frequenting a local pub can directly affect people’s social network size and how engaged they are with their local community, which in turn can affect how satisfied they feel in life.

“Our social networks provide us with the single most important buffer against mental and physical illness. While pubs traditionally have a role as a place for community socialising, alcohol’s role appears to be in triggering the endorphin system, which promotes social bonding.

“Like other complex bonding systems such as dancing, singing and storytelling, it has often been adopted by large social communities as a ritual associated with bonding.”

Dunbar and other researchers drew on three separate studies: a questionnaire, observation, and a national survey.

The researchers discovered that those with a local pub socialised in smaller groups facilitating conversations as a group, whereas city-centre bars tended to have larger groups, and thus there was less whole-group engagement.

The national survey was undertaken by the Campaign for Real Ale (CAMRA), a not-for-profit volunteer-led organisation of 185,000 members which campaigns for thriving pubs and real ale across every community.

CAMRA’s National Chairman, Colin Valentine, said: “Pubs play a unique role in offering a social environment to enjoy a drink with friends in a responsible, supervised community setting.

“For this reason, we all need to do what we can to ensure that everyone has a ‘local’ near to where they live or work—the first step to which is to strengthen planning protection for pubs to stem the 21 pubs closing across this country each week.”

Residents’ anger over Bullingdon “seven-day drinking culture”

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A proposal by the Bullingdon to extend its opening hours to 4am from its current 2.30am closing time on Friday and Saturday nights has been voted down by Councillors.

Residents of East Oxford had expressed their frustration over the “seven-day drinking culture” that exists in the area, in response to the Bullingdon’s application to extend its alcohol-serving licence.

The new licence would have meant that events taking place at the club, which hosts popular student nights by companies such as Organised Fun and SE10, could serve alcohol until 4am on Friday and Saturday nights, 3am on weeknights and 1am on Sundays.

Residents of the surrounding area objected to the licence increase, on the basis that the street is a “special saturation policy” zone, which means that Oxford City Council is making an eff ort to reduce expansion of pubs and clubs on Cowley Road to protect local residents.

City Councillor Jamelia Azad told the Oxford Mail: “I already get a lot of complaints from residents living in streets off Cowley Road.

“Residents are being woken up by anti-social behaviour, there’s a lot of noise and I’ve had complaints of people being sick and smashing bottles—it is not just the weekend anymore.

“People should be enjoying themselves until late but in nonresidential areas like the city centre.”

The London Place Residents’ Association, which represents the seventeen homes almost half a mile from the venue, objected due to the noise that an increased licence would inflict on them. They were supported by Councillor Dick Wolff, who said:“It took many years to get to grips with the antisocial behaviour issues on the Cowley Road and the saturation zone has been a crucial part of this.

“It is good that the Cowley Road is a centre for entertainment but at the end of the day it is a residential area and the applicant needs to recognise this.”

In a statement to the public, which also blamed the residents’ disturbance on local students, Thames Valley Police revealed that they are treating the area as “a delicate state… from a policing point of view”.

The police statement expressed concern that the Bullingdon would be treated as a place for people to go after bars in the city centre had closed, causing more noise between midnight and kicking-out time.

It said: “The application would not only allow the existing customer base to consume alcohol for longer but result in increased footfall into the East Oxford area by attracting other late night revellers who don’t want their night to end.

“With a large student presence, concentrated in East Oxford and Headington nearby, and it being more socially acceptable to go out late night drinking for the general public as well, the night time economy is now a seven-day a week occurrence.”

SE10, who run a number of student club nights at the Bullingdon, appealed on Facebook for support for the licence extension. Their post described the application as “such a reasonable request” and said it was “crazy it hasn’t happened sooner”.

The residents’ opposition also provoked scorn from students living near to Cowley Road. Romain Civalleri, a second-year Balliol student who lives on Union Street, said: “I am pretty sure that the whole disruption part is completely overblown. Cowley remains much calmer than central Oxford where all the clubs are concentrated.

“Even though I can understand that the direct neighbours of the Bullingdon may have complaints, the area is hardly littered with passed-out students every night.”

The Bullingdon, which has been running live music events for over twenty years, describes itself as “Oxford’s leading independent live venue and favourite cocktail bar”. It did not respond to requests for comment.

Brutalist Russia and Bowie: Marlowe’s Edward II reimagined

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As we approach the first anniversary of David Bowie’s death, it seemed fitting to be discussing Charlotte Vickers’ vision for a 1980s revamp of Marlowe’s play. Edward II has been transformed from a 16th century play about a 14th century king into a political drama set in the era of Brutalism, the Cold War, and, of course, Bowie.

First of all, where did the idea come from? The connection between Marlowe and the 1980s is not immediately obvious.

Charlotte Vickers (Director): “The idea for Ed2 actually came about in the library, not the pub, which is pretty rare for me. I was sat doing revision on the Renaissance era last Easter, and I was reading Edward II for the fi rst time. At the time I was watching The Americans, a TV show set in the Cold War, and the similarities between Cold War politics—lots of talk and no action, backstabbing and espionage—and Edward II were suddenly so obvious. It made perfect sense.”

How did you go about developing the idea?

Catriona Bolt (Dramaturg): “Charlotte and I sat down in a cafe on a very cold afternoon and, over hot chocolate, discussed the setting for the play. Fine-tuning everything—from the prevailing season (winter, obviously) to the musical influences—helped us finish off the script and work out casting. For a historical play, it was vital to establish a setting that felt real and worked with the story’s original medieval period.”

What can we expect the production to look like?

Marcus Knight-Adams (Costume Designer): “The more we discussed the Cold War and the 1980s, the more the setting with the text made sense. The strong Brutalist aesthetic married well with the New Romantic era. The opposing aesthetics of 1980’s culture and counterculture reflect the austere views of the nobles and Gaveston’s post-punk ideals really well.”

Charlotte Vickers: “I’ve been so inspired by Bowie! So much Bowie. And Prince and George Michael—working on this production in 2016, watching all these greats die as we’re creating a society inspired by them, it’s weird.”

Harriet Bourhill (Designer): “When Charlotte and I first met to discuss Edward II, the vision for this early modern play to be set in Brutalist Russia was immediately inspiring. During the development of designs, I played with the weird and wonderful structures of innovative Brutalist architecture to test how the essence of these structures may be emulated in the Playhouse. The towering geometric architecture of Moshe Safdie’s Habitat 67 and The Everson Museum of Art designed by IM Pei were particularly inspiring during this process. In the end, the finished set result finds its roots in the very foundation of Brutalist architecture—the concrete breezeblock, the primary building material for these structures which, on the Playhouse stage, becomes a piece of statement architecture in its own right.”

Did the actors research the original background of their characters before adapting them for a modern setting?

Joe Stephenson (Mortimer Jr): “I’ve been really lucky to read a biography of my character by the historian Ian Mortimer, which has not only helped me get to grips with the actual historical events depicted within the play, but has also enabled me to create a backstory for my character that is based on real history. This has been really useful for me in working out Mortimer’s feelings for Edward and Gaveston, with whom he had been raised as a childhood friend, and exactly where that animosity comes from. It’s a bit of a problem trying to rely too heavily on real history with this play, though, because Marlowe condenses and conflates a fairly long historical period into a very short time. That being said, it’s been very interesting to talk about the real history in rehearsals, and I think I’m not alone in saying that it’s been a useful way of finding justifications and motivations for my character’s decisions and actions. Charlotte’s choice of setting has allowed us to explore real history of the 1980’s, as well as the 14th century. We have talked about fashion and subcultures, but also about the Cold War and modes of warfare in the 1980’s, as well as discussing real historical figures as performative inspirations (for Mortimer and Isabella, we have looked at Charles and Diana as behavioural icons—regicide aside, of course).”

Edward II will run at the Oxford Playhouse, Wednesday – Saturday of 2nd Week

Outfit of the day: January chic

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Warmth was my priority in picking this outfit. Being out in London for the day, I knew that I’d want to be well wrapped up in the January freeze.

I paired an oversized burgundy turtle neck jumper with a medium brown open coat throw-on—to my surprise, the colours really complemented each other!

The jumper is super thick but the coat is light, so I knew I’d be warm without having to experience that classic winter feeling of layering so much that you feel ready to set foot in Antarctica. Not to mention the Michelin Man-type silhouette which ridiculous layering creates.This type of outfit is perfectly suited for a chilly day when you’ll be running around a little bit—you don’t want to be sweating every time you head inside.

Not wanting to go overboard with the colours, I kept the bottom half of the outfit simple in high waisted black leggings, a little black tote bag and some black knee high boots.